Friendsville is a small town with a rich, varied history. It had its beginnings in the late 1790s, when several related families with the Religious Society of Friends (Quakers) moved from North Carolina into what is now Blount County and established a Friends meeting about 12 miles from Maryville, the county seat. The families built a gristmill and a sawmill and later sold town lots. The Friendsville Post Office was established in 1850, and the town was incorporated in 1953. Friendsville has played a remarkable role in the history of the United States. The Friends, who did not support war or slavery, operated several stops on the Underground Railroad during the Civil War, helping runaway slaves, freed African Americans, and southern residents who wanted to fight for the North or move north to avoid the war. The area is now noted for its marble production, with Friendsville pink marble gracing such buildings as the Smithsonian Institution in Washington, D.C.
Wright vividly portrays the clash between racist militants and blacks who would not submit to terror. The book makes clear the brutality concealed beneath the surface veneer of moderation." -- Journal of Southern History In this investigative look into Kentucky's race relations from the end of the Civil War to 1940, George C. Wright brings to light a consistent pattern of legally sanctioned and extralegal violence employed to ensure that blacks knew their "place" after the war. In the first study of its kind to target the racial patterns of a specific state, Wright demonstrates that despite Kentucky's proximity to the North, its black population was subjected to racial oppression every bit as severe and prolonged as that found farther south. His examination of the causes and extent of racial violence, and of the steps taken by blacks and concerned whites to end the brutality, has implications for race relations throughout the United States.
This edition of George Chapman's tragedy differs from all other modern editions in being based primarily on the Quarto of 1607 in preference to the much revised Quarto of 1641. N.S. Brooke believes that the earlier text gives a more certain indication of Chapman's intentions and he has supported that view in his introduction, where he presents a bibliographical and critical study of the play. The divergences between the texts of 1607 and 1641 are set out clearly in this volume, which includes the usual textual and critical apparatus found in the Revels series.
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